Discovering coordination patterns

A large and growing amount of software systems rely on non-trivial coordination logic for making use of third party services or components. Therefore, it is of outmost importance to understand and capture rigorously this continuously growing layer of coordination as this will make easier not only the veri cation of such systems with respect to their original speci cations, but also maintenance, further development, testing, deployment and integration. This paper introduces a method based on several program analysis techniques (namely, dependence graphs, program slicing, and graph pattern analysis) to extract coordination logic from legacy systems source code. This process is driven by a series of pre-de ned coordination patterns and captured by a special purpose graph structure from which coordination speci cations can be generated in a number of di erent formalisms

Slicing for architectural analysis

Current software development often relies on non-trivial coordination logic for combining autonomous services, eventually running on different platforms. As a rule, however, such a coordination layer is strongly woven within the application at source code level. Therefore, its precise identification becomes a major methodological (and technical) problem and a challenge to any program understanding or refactoring process. The approach introduced in this paper resorts to slicing techniques to extract coordination data from source code. Such data are captured in a specific dependency graph structure from which a coordination model can be recovered either in the form of an Orc specification or as a collection of code fragments corresponding to the identification of typical coordination patterns in the system. Tool support is also discussed

People Detection and Tracking using Depth Camera

In this paper we present a method for real-time detection and tracking of people in video captured by a depth camera. For each object to be assessed, an ordered sequence of values that represents the distances between its center of mass to the boundary points is calculated. The recognition is based on the analysis of the total distance value between the above sequence and some pre-defined human poses, after apply the Dynamic Time Warping. This similarity approach showed robust results in people detection.

Automatic segmentation and 3D feature extraction of protein aggregates in Caenorhabditis Elegans

In the last years, it has become increasingly clear that neurodegenerative diseases involve protein aggregation, a process often used as disease progression readout and to develop therapeutic strategies. This work presents an image processing tool to automatic segment, classify and quantify these aggregates and the whole 3D body of the nematode Caenorhabditis Elegans. A total of 150 data set images, containing different slices, were captured with a confocal microscope from animals of distinct genetic conditions. Because of the animals’ transparency, most of the slices pixels appeared dark, hampering their body volume direct reconstruction. Therefore, for each data set, all slices were stacked in one single 2D image in order to determine a volume approximation. The gradient of this image was input to an anisotropic diffusion algorithm that uses the Tukey’s biweight as edge-stopping function. The image histogram median of this outcome was used to dynamically determine a thresholding level, which allows the determination of a smoothed exterior contour of the worm and the medial axis of the worm body from thinning its skeleton. Based on this exterior contour diameter and the medial animal axis, random 3D points were then calculated to produce a volume mesh approximation. The protein aggregations were subsequently segmented based on an iso-value and blended with the resulting volume mesh. The results obtained were consistent with qualitative observations in literature, allowing non-biased, reliable and high throughput protein aggregates quantification. This may lead to a significant improvement on neurodegenerative diseases treatment planning and interventions prevention

A Representação de Personagens Virtuais: Como a Tecnologia Obriga à Criação de Estilos e Estéticas Interdisciplinares na Animação Contemporânea

The evolution of computer animation represents one of the most relevant andrevolutionary aspects in the rise of contemporary digital visual culture (Darlew,2000), in particular, phenomena such as cinema “spectacular “ (Ibidem) and videogames. This article analyzes the characteristics of this “culture of simulation” (Turkle, 1995:20) relating the multidisciplinary and spectrum of technical and stylistic choices to the dimension of virtual characters acting. The result of these hybrid mixtures and computerized human motion capture techniques - called virtual cinema, universal capture, motion capture, etc. - cosists mainly on the sophistication of “rotoscoping”, as a new interpretation and appropriation of the captured image. This human motion capture technology, used largely by cinema and digital games, is one of the reasons why the authenticity of the animation is sometimes questioned. It is in the fi eld of 3D computer animation visual that this change is more signifi cant, appearing regularly innovative techniques of image manipulation and “hyper-cinema” (Lamarre, 2006: 31) character’s control with deeper sense of emotions. This shift in the culture that Manovich (2006: 27) calls “photo-GRAPHICS” - and Mulvey (2007) argue that creates a new form of possessive relationship with the viewer, in that it can analyze in detail the image, it can acquire it and modify it - is one of the most important aspects in the rise of Cubbit’s (2007) “cinema of attraction”. This article delves intrinsically into the analyze of virtual character animation — particularly in the fi eld of 3D computer animation and human digital acting.

Palco: a multisensor realtime 3D cartoon production system

This paper presents Palco, a prototype system specifically designed for the production of 3D cartoon animations. The system addresses the specific problems of producing cartoon animations, where the main obj ective is not to reproduce realistic movements, but rather animate cartoon characters with predefined and characteristic body movements and facial expressions. The techniques employed in Palco are simple and easy to use, not requiring any invasive or complicated motion capture system, as both body motion and facial expression of actors are captured simultaneously, using an infrared motion detection sensor, a regular camera and a pair of electronically instrumented gloves. The animation process is completely actor-driven, with the actor controlling the character movements, gestures, facial expression and voice, all in realtime. The actor controlled cartoonification of the captured facial and body motion is a key functionality of Palco, and one that makes it specifically suited for the production of cartoon animations.